Michael Field is a pseudonym for Katharine Harris Bradley and Edith Emma Cooper. Born in 1846, Katharine Bradley came from a wealthy, industrial family. Her father, Charles Bradley, was a prominent figure in the tobacco industry, and he ensured that Katharine was well educated; she was particularly interested in classic art and literature ("Michael Field" Poetry Foundation). Because of her family’s significant wealth, Katharine was able to pursue this interest without having to worry about marriage or finding paid work. Edith Emma Cooper, Katharine's niece, was born in 1862 to her ailing mother, Emma Cooper (Katharine’s sister). Following the birth of her second child, Emma Cooper became an invalid, and Katherine became responsible for Edith's upbringing (Oxford Biographical Database). During her childhood, Edith developed a strong interest in the classics as well; she began translating Virgil and composing poetry in her teens. As Edith grew older, the bond between her and Katharine grew; they attended Bristol University College together in 1879 to study the classics and connected over their shared passions (Oxford Biographical Database)--they thoroughly enjoyed being able to have academic conversations about art ("Michael Field" Poetry Foundation). During this time, the pair joined the debating society, where they became strong proponents of women's suffrage and anti-vivisection--Katherine was described by some as a "prime mover"of the Anti-Vivisection Society in Clifton, serving as its secretary until 1887 (Sturgeon, 20-1). They also shared a love for pets, and loved their dog Whym Chow dearly ("Michael Field" Isle of Lesbos). Katharine and Edith lived together for over forty years, and it is widely assumed that they were lovers.
Edith Cooper. (Creative Commons)
Katharine Bradley originally began publishing under the pseudonym Arran Leigh. Once Edith became part of the poetic team, they jointly published as Arran and Isla Leigh. Their best-known work under that name is Bellerophon and Other Poems, published in 1881. They began to publish as Michael Field in 1884 when they published two tragic dramas, entitled Callirrhoe and Fair Rosamond ("Michael Field" Poetry Foundation). Callirrhoe received rave reviews until the true identity of Field was revealed. Robert Browning, a close friend of Katharine and Edith's, was suspected to have let their secret slip, as it occurred only two weeks after they told him that they were the writers behind the pseudonym. Critics were shocked by the revelation that two women could or would write such a thing, and some were offended and thought that they were overstepping societal boundaries. The drama uses animals to comment on and critique Victorian society, creating controversy. Clearly however, as people still study their work today, the tragic dramas were and remain an important part of literary history. Despite the early critical backlash, the team continued to publish as Michael Field, focusing primarily on poetry. The male identity of their pseudonym gave them the freedom to write about things that would have been inappropriate for women to comment on. For example, much of their poetry references themes such as love for a woman, or are written as an ode to a lover, generally a woman (Ehnenn, 217). Had they published such work as women, there would have been quite a scandal. As Michael Field however, this was perfectly, socially acceptable. The pseudonym also allowed them to explore their personal relationship, with themes of feminine sexuality and erotic love between women (Ehnenn, 226). They were greatly influenced by Henry Wharton’s 1895 translations of Sappho (Thomas, 334). Today, Bradley and Cooper are recognized as pioneers of gay rights and queer poetry, simply because of how they defied societal expectation (Thomas, 348). Most, if not all, of the team’s work was written together ("Michael Field" Poetry Foundation). It is said that even they had trouble remembering who had contributed which lines. All in all, they wrote eight volumes of poetry and twenty-five plays (Bristow, 159).
Despite their openness about their romantic relationship, they were not shunned because of their sexual orientation; in fact, they were part of a circle of influential people. They counted Robert Browning, George Meredith, and Oscar Wilde among their friends and creative influences ("Michael Field" Poetry Foundation).
Bradley and Cooper’s religious beliefs evolved over time, as did their poetry. Though they originally were atheist, after the death of their beloved dog, Whym Chow, they converted to Catholicism in 1907, perhaps as a way to cope ("Michael Field" Isle of Lesbos). After this conversion, their poetry left the sensual, pagan tones behind and took on more somber and religious tones and themes.
In 1913, Edith Cooper died of cancer. Katharine Bradley continued to put together volumes of poetry until her own death of cancer only 9 months later, in 1914.
-- UVic Engl 386/2012W
Michael Field is a pseudonym for Katharine Harris Bradley and Edith Emma Cooper. Born in 1846, Katharine Bradley came from a wealthy, industrial family. Her father, Charles Bradley, was a prominent figure in the tobacco industry, and he ensured that Katharine was well educated; she was particularly interested in classic art and literature ("Michael Field" Poetry Foundation). Because of her family’s significant wealth, Katharine was able to pursue this interest without having to worry about marriage or finding paid work. Edith Emma Cooper, Katharine's niece, was born in 1862 to her ailing mother, Emma Cooper (Katharine’s sister). Following the birth of her second child, Emma Cooper became an invalid, and Katherine became responsible for Edith's upbringing (Oxford Biographical Database). During her childhood, Edith developed a strong interest in the classics as well; she began translating Virgil and composing poetry in her teens. As Edith grew older, the bond between her and Katharine grew; they attended Bristol University College together in 1879 to study the classics and connected over their shared passions (Oxford Biographical Database)--they thoroughly enjoyed being able to have academic conversations about art ("Michael Field" Poetry Foundation). During this time, the pair joined the debating society, where they became strong proponents of women's suffrage and anti-vivisection--Katherine was described by some as a "prime mover"of the Anti-Vivisection Society in Clifton, serving as its secretary until 1887 (Sturgeon, 20-1). They also shared a love for pets, and loved their dog Whym Chow dearly ("Michael Field" Isle of Lesbos). Katharine and Edith lived together for over forty years, and it is widely assumed that they were lovers.
Katharine Bradley originally began publishing under the pseudonym Arran Leigh. Once Edith became part of the poetic team, they jointly published as Arran and Isla Leigh. Their best-known work under that name is Bellerophon and Other Poems, published in 1881. They began to publish as Michael Field in 1884 when they published two tragic dramas, entitled Callirrhoe and Fair Rosamond ("Michael Field" Poetry Foundation). Callirrhoe received rave reviews until the true identity of Field was revealed. Robert Browning, a close friend of Katharine and Edith's, was suspected to have let their secret slip, as it occurred only two weeks after they told him that they were the writers behind the pseudonym. Critics were shocked by the revelation that two women could or would write such a thing, and some were offended and thought that they were overstepping societal boundaries. The drama uses animals to comment on and critique Victorian society, creating controversy. Clearly however, as people still study their work today, the tragic dramas were and remain an important part of literary history. Despite the early critical backlash, the team continued to publish as Michael Field, focusing primarily on poetry. The male identity of their pseudonym gave them the freedom to write about things that would have been inappropriate for women to comment on. For example, much of their poetry references themes such as love for a woman, or are written as an ode to a lover, generally a woman (Ehnenn, 217). Had they published such work as women, there would have been quite a scandal. As Michael Field however, this was perfectly, socially acceptable. The pseudonym also allowed them to explore their personal relationship, with themes of feminine sexuality and erotic love between women (Ehnenn, 226). They were greatly influenced by Henry Wharton’s 1895 translations of Sappho (Thomas, 334). Today, Bradley and Cooper are recognized as pioneers of gay rights and queer poetry, simply because of how they defied societal expectation (Thomas, 348).
Most, if not all, of the team’s work was written together ("Michael Field" Poetry Foundation). It is said that even they had trouble remembering who had contributed which lines. All in all, they wrote eight volumes of poetry and twenty-five plays (Bristow, 159).
Despite their openness about their romantic relationship, they were not shunned because of their sexual orientation; in fact, they were part of a circle of influential people. They counted Robert Browning, George Meredith, and Oscar Wilde among their friends and creative influences ("Michael Field" Poetry Foundation).
Bradley and Cooper’s religious beliefs evolved over time, as did their poetry. Though they originally were atheist, after the death of their beloved dog, Whym Chow, they converted to Catholicism in 1907, perhaps as a way to cope ("Michael Field" Isle of Lesbos). After this conversion, their poetry left the sensual, pagan tones behind and took on more somber and religious tones and themes.
In 1913, Edith Cooper died of cancer. Katharine Bradley continued to put together volumes of poetry until her own death of cancer only 9 months later, in 1914.
-- UVic Engl 386/2012W
Works Cited:
Bristow, Joseph. "Michael Field in Their Time and Ours." Tulsa Studies In Women's Literature 29.1 (2010): 159-179.
Blain, Virginia H. "Bradley, Katherine Harris". Ed. Oxford Dictionary of National Biographies. Web. 20 Jan 2016.
Ehnenn, Jill. "Looking Strategically: Feminist and Queer Aesthetics in Michael Field's 'Sight and Song'." Victorian Poetry 43.1. (2005): 109-154.
"Michael Field." //Isle of Lesbos.// Alix North, 2007. Web. 27 Mar. 2012.
"Michael Field." //Poetry Foundation//. Harriet Monroe Poetry Institute, 2011. Web. 27 Mar. 2012.
Sturgeon, Mary C. //Michael Field//. 23 Vol. London: G.G. Harrap, 1921. Web.
Thomas, Kate. "What Time We Kiss." //Michael Field's Queer Temporalities// glq 13, no. 2/3 (2007): 327-351.